Accessorized guitar technology has yielded more new developments than any other field in the domain of stringed musical instruments. Its popularity derives from a conservative nature among quitarists who choose to enhance their preferred instruments rather than adapt to newer models. This factor has often limited the scope of new research, placing more emphasis on accessorizing prior designs than on creating new ones. It may also be one of the most important considerations in further developing double-neck or combined instrument technologies.
Musicans seeking greater versatility in electric guitars have often found double-neck guitars to be problematic because of their weight and lack of balance. Many also dislike putting aside a favored single-neck instrument to use a double-neck when it is needed. Since most double-neck guitars have not offered enough variety to forego changing instruments altogether, some musicians choose to ignore them completely, opting instead to alternate more single-neck instruments. Unfortunately, having to carry several instruments to each venue is difficult, and it is nearly impossible to switch guitars without interrupting a musical part.
In lieu of double-neck technology, many have tried alternative approaches to achieving greater versatility. One concept involved keeping several instruments in readily playable positions on specially adapted stands as proposed in U.S. Pat. No. 2,547,924 to Citro (1951), and U.S. Pat. No. 4,742,751 to Cherry (1988) . The main problem was that a performer's movements were restricted to the location of the second instrument. Also it was difficult to reach around a guitar placed on one's shoulder to play another guitar on a stand. Furthermore, the additional setup time required for such applications made this option seem impractical.
As secondary electric instruments, travel guitars sparked an interest in small-bodied, portable designs that could be used for practicing almost anywhere. They were small enough to require less storage space and light enough to be combined with other instruments. Although many could sound like full-bodied guitars, their awkward balance and feeling were not usually acceptable for use on stage. This probably made the combined use of two travel guitars in a double-neck format seem undesireable. A logical development might have accessorized a full-bodied guitar with a high-quality travel guitar in the creation of a double-neck.
The first known method of accessorizing an acoustic guitar for the purpose of creating a double-neck capability was documented in U.S. Pat. No. 832,157 to Platts (1906). An invention in the form of a modular, stringed mandolin neck was clamped on to an acoustic guitar's upper curvature where it could vibrate the guitar's surface to create sounds. Unfortunately, attaching a larger, heavier guitar module with clamps could damage an acoustic guitar. A double-neck of U.S. Pat No. 4,987,815 to Shockley (1991) seemed to remedy this situation by making both instruments integral, but this also meant they were no longer detachable.
Some guitar modules looked like travel guitars, but they were interchangeable with separate, external bodies. Single-neck systems offered only as much versatility as could be gained by changing standard instruments. Modular double-necks, as described in U.S. Pat. No. 3,130,625 to Savona (1964) and U.S. Pat. No. 4,785,705 to Patterson (1988), offered more options. Generally, however, the use of modules rarely emulated fully integrated guitars. Also, these configurations could not accessorize standard instruments. Savona used rails for attachment, and Patterson used flexible straps that could risk collision between a module and a standard guitar.
Usually only pianos and floor harps were associated with the independent use of two hands to create separate melodic lines; however, similar two-hand methods were developed for guitar by players like Mark Laughlin and Jimmie Webster in the 1950's. Webster also published a book called, Touch System for Electric and Amplified Spanish Guitar (1952, W. J. Smith, New York), which demonstrated basic two-hand approaches. To further enhance this art, double-neck instruments have been proposed, but few have pleased guitarists who use standard picking methods. Double-neck technology is expected to meet the needs of both styles, however.
To promote better balance and facilitate simultaneous two-hand play, I offered a Biaxe double-neck guitar of U.S. Pat. No. 4,240,319 (1980). This instrument combined a full-sized guitar with a longer, stick-form guitar module which was offset to provide more accessibility for two-hand methods and to distribute the guitar's weight more evenly. One problem I found, however, was that an elongated lower neck was not well-suited for many common playing styles. Although the stick-form guitar enhanced two-hand playing, standard picking and strumming required a shorter replacement neck which was rendered inaccessible by the offset position.
By late 1980 a new Biaxe included a means of accommodating different neck lengths, which Guitar Player magazine published an article about in May of 1982. It employed a modular body with rails to support two guitar modules which could slide and lock into different longitudinal positions. (Prior configurations only facilitated one position.) Also the rail system provided electronic connections between both modules and the body, making them integral so they could feel more like a complete instrument. Many ergonomic features and the overall versatility of this Biaxe design made it appear more accessible than other double-necks.
Unfortunately, even though the Biaxe modules were detachably integrated with the external body, their feeling and playability still seemed less familiar than many standard guitars. Also the rails of this design needed special electronics to avoid picking up radio frequencies and noise which might be amplified. As with Savonals rail system, any warpage of the wooden body caused by weather changes would impede the sliding feature. There was also a risk of gradually pulling the rails out of a wooden body by constantly replacing the modules. The only remedy would be to have the rails in a separate housing to avoid such damage.
A major commercial drawback to this track system was that it could not attach to standard guitars or basses without altering them. Ergonomic comfort and visual access required that the bulk of an external guitar module be attached to the lower portion of a standard guitar, spaced apart from its surface. This negated using clamps since their lower placement would weaken from the direct force of gravity. The alternative was to drill holes into an instrument's body through which two or more connecting bolts could support a rail housing. Most musicians would avoid this to retain the aesthetic and commercial value of their instruments.
All of the related inventions heretofore known suffer from a number of disadvantages:
(a) Stands and support devices hinder freedom of motion and require extra set-up time, as well as extra carriage space.
(b) Most prior art instruments were integrated with special features that standard guitars and basses could not utilize. For this reason, many new concepts were limited to these inventions.
(c) With the exception of Platts' mandolin, prior art instruments could not accessorize popular guitars without altering them. (Platts used clamps with questionable safety.)
(d) Clamps are ill-adapted for attaching electric guitar modules to standard instruments. Unlike Platts, mandolin, the bulk of an external guitar module is better suited for placement over the lower surface of a standard instrument. Gravity would have a stronger affect on clamps in this position, which could mean slippage and damage to a guitar.
(e) Most prior art instruments could not facilitate simultaneous two-hand play: Shockley's guitar was integrated for standard playing styles only; Savonal s rail system did not provide offset positions; and Patterson's flexible system did not offer enough stability for both necks to be used simultaneously.
(f) Flexible means of connection, as suggested by Patterson, could not facilitate playing two necks from a seated position.
(g) Flexible means of connecting an external module to a full-size, standard guitar or bass could not remain stable enough to prevent collisions between both necks during a performance.
(h) Integral rail systems could pull apart from their bodies after extended use.
(i) Rails can become jammed as the wooden bodies that support them change with weather conditions. Without exception the dimensions required for guitar modules to slide in any track system will change from even a slight warpage.
(j) None of the prior art instruments could retain the feeling of a full-bodied, single-neck electric guitar, which is desired by many guitarists.
My current invention employs a light-weight, detachable retrofit with a sliding lock to secure an external guitar module to a standard guitar. This system allows the feeling and playability of a commercial instrument to be retained without altering its features in any way. A four, six, or twelve string travel guitar can be adapted for attachment to the sliding lock, which changes position to accommodate different neck lengths for various playing styles and to maintain proper balance. Rather than develop a new instrument, this concept combines instruments that have already been proven and accepted by musicians.